'VJUL  JO  SC  PH  SACHS 

. m 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/installationofspOOdana 


Illustration  No.  1.  The  side  of  the  screen  here  shown  has 
panels  of  orange  with  frames  of  black.  The  standard  at  the 
right  lifts  out  of  the  base  and  takes  apart  in  the  center. 
The  box  comes  off. 


INSTALLATION  OF  A SPEAKER 

AND 

ACCOMPANYING  EXHIBITS 

BY 

JOHN  COTTON  DANA 


No.  3 of  the  New  Museum  Series 


THE  ELM  TREE  PRESS 

WOODSTOCK,  VERMONT 
1918 


TABLE  OF  CONTENTS 


I.  Placing  a Speaker  before  an  Audience 

The  speaker  an  exhibit 

Rules  for  her  installation 

Why  the  speaker  should  be  clearly  seen 

Remove  all  disturbing  lights 

Hide  all  decorative  disturbances 

Put  a screen  behind  the  speaker 

Illuminating  the  speaker  properly 

The  illuminating  device 

Give  the  speaker  a proper  desk 

The  reason  for  effective  installation 

Examples  of  effective  installation 

II.  Installing  the  Objects  a Speaker  wishes  to  Display 

The  display  of  pictures,  textiles  and  like  objects  singly 

The  display  of  small  groups  of  objects 

Fundamental  rules  of  installation 

Display  objects  well  or  not  at  all 

Arranging  a group  of  pictures 

The  imperative  demand  of  good  taste 

The  charm  of  the  uncluttered 

Device  for  hanging  pictures 

Pictures  to  be  shown  must  be  mounted  and  matted 

Showing  pictures  on  racks 

Screens  for  picture  exhibits 

The  display  of  other  objects 

Objects  should  be  raised  to  the  level  of  the  eyes 

The  overmuch  of  home  decoration 


INTRODUCTION 

The  first  volume  in  this  series,  “The  New  Museum,''  pub- 
lished a year  ago,  told  why  I dared  to  write  and  print  a series 
of  small  books  on  the  new  manner  of  museum  development  and 
management.  Briefly,  it  was  because  we  of  the  Newark 
Library  had  been  managing  for  about  eight  years  what  we 
called  a modest  museum  of  modest  museum  experiments,  and 
had  decided  that  what  we  were  learning  and  thinking  and 
doing  was  worth  passing  on  to  others  for  comment  and 
criticism. 

This  first  volume  told  how  we  studied  museum  history  and 
museum  practice  of  to-day;  how  we  came  to  the  conclusion 
that  a quite  definitely  “new"  manner  of  museum  management 
is  coming  upon  the  museum  world ; and  then  gave  certain  very 
simple  suggestions  for  the  establishment  and  conduct  of  a 
museum  of  the  new  type. 

To  this  was  added  a list  of  about  fifty  museums,  each  of 
which  had  agreed,  in  response  to  an  inquiry  from  us,  to  give 
such  aid  as  it  could  to  any  museums  which  may  ask  for  advice 
and  suggestions,  with  notes  under  each  museum's  name  of 
some  of  the  lines  in  which  it  thought  itself  fairly  well  equipped 
to  give  aid. 

And  finally  we  added  a list  of  references  to  the  best  books 
and  articles  on  the  elements  of  museum  management. 

No.  2 of  the  series,  “The  Gloom  of  the  Museum,"  was  pub- 
lished about  six  months  ago.  It  included  a chapter  on  the 
manner  in  which  the  arts  have  been  made  to  flourish,  but  was 
chiefly  devoted  to  an  explanation  of  the  unattractiveness  and 
accompanying  inefficiency  of  museums,  with  suggestions  for 
making  them  more  attractive  and  more  useful.  The  last  fif- 
teen pages  contained  an  abstract  of  125  of  the  best  books  and 
articles  on  museum  management. 


In  this,  the  third  of  the  series,  I may  seem  to  have  departed 
from  the  museum  field,  for  I here  discuss  the  question  of  the 
proper  presentation  of  a speaker  to  her  audience.  But,  in  fact, 
I here  try  to  emphasize  one  of  the  most  important  of  the 
functions  of  the  new  museum — that  of  carrying  over  into 
every-day  life  some  at  least  of  the  things  learned  in  the  course 
of  museum  practice.  A museum  should  teach,  so  we  contend, 
and  in  so  doing  may  well  convey  to  the  layman  suggestions 
for  the  application  of  museum  technique  in  other  than  museum 
fields. 


Newark,  N.  J.,  April  1,  1918. 


J.  C.  DANA. 


THE  INSTALLATION  OF  A SPEAKER 
AND  ACCOMPANYING  EXHIBITS 
I 

Placing  a Speaker  Before  an  Audience 

THE  SPEAKER  AN  EXHIBIT 

Let  us  assume  that  you  are  to  have  in  your  home  a gather- 
ing of  friends,  or,  in  a small  hall  a meeting  of  which  you  have 
charge,  of  the  members  of  a society,  at  which  some  one  is  to 
make  a speech,  read  a paper,  sing,  or  play  on  some  musical 
instrument.  The  occasion  may  be  any  event  which  brings  a 
few  persons  together  chiefly  to  see  and  listen  to  some  one 
individual. 

Straightway  that  individual  becomes  an  “exhibit,’^  and 
should  be,  in  the  manner  of  her  presentation  to  her  audience, 
treated  as  such.  Much  of  the  success  of  the  performer  will 
depend  upon  the  skill  with  which  she  is  “installed.’^ 

RULES  FOR  HER  INSTALLATION 

Here  are  some  of  the  elementary  rules  to  be  followed  if 
this  installation  is  to  be  such  as  to  make  the  venture  a success : 

Ventilate  the  room  properly.  This  rule  cannot  here  be  car- 
ried into  details,  as  the  size  and  height  of  rooms  and  the  num- 
ber and  relations  of  doors  and  windows  vary  greatly  and  every 
case  demands  its  own  peculiar  treatment.  But  it  may  as  well 
be  said  once  more,  obvious  as  is  the  remark,  that  without  an 
abundance  of  fresh  air  of  proper  temperature,  no  group  of 
persons  can  listen  to  any  one  for  more  than  a few  minutes 
with  more  than  a very  limited  return  in  either  pleasure  or 
profit. 

If  ventilation  is  impossible  without  dangerous  or  unpleasant 
drafts,  the  room  to  be  used  for  the  gathering  should  be  well 


6 


INSTALLATION  OF  A SPEAKER 


aired  and,  if  possible,  well  cooled  just  before  the  audience 
gathers.  If  necessary,  this  can  be  done  again  after  half  or 
three-quarters  of  an  hour.  No  person  of  discretion  will  try  to 
hold  an  audience  without  a break  for  more  than  that  length 
of  time,  and  a company  gathered  even  in  the  most  delightful 
of  homes  will  always  welcome  an  intermission  of  a few  minutes 
in  a long  session. 

WHY  THE  SPEAKER  SHOULD  BE  CLEARLY  SEEN 

The  exhibit  itself,  the  speaker  or  singer  on  such  an  occasion 
as  we  are  considering,  is  always  an  object  of  interest  to  the 
audience.  Even  if  she  is  a member  of  the  club  to  which  she  is 
speaking  or  for  whose  entertainment  she  is  singing  or  playing, 
her  associates  wish  to  see  her  as  well  as  to  hear  her  voice.  In 
the  case  of  a stranger,  whether  a person  of  note  or  not,  the 
desire  to  see  her  is  still  stronger.  And  always  it  should  be 
remembered  by  the  hostess  or  the  manager  of  the  affair  that 
one  who  is  going  through  the  task  of  addressing  an  audience, — 
and  it  is,  after  all,  always  a task,  no  matter  how  agreeable  to 
the  performer, — is  entitled  to  every  courtesy  that  conditions 
permit.  Clearly  one  of  these  courtesies  lies  in  such  a placing 
of  herself  and  her  audience  that  she  can  look  into  the  faces 
of  all  the  latter,  and  that  the  latter  can  readily,  and  in  com- 
fort, see  both  her  face  and  her  person.  This  law  of  courtesy, 
indeed,  toward  one  who  is  asked  to  address  others  at  a gather- 
ing of  friends,  underlies  and,  in  a measure,  dictates  as  essen- 
tials, all  the  arrangements  hereinafter  described  as  part  of  a 
proper  ‘'installation''  or  the  “exhibition"  of  one  who  holds  the 
floor  for  a set  performance  even  of  the  humblest  kind. 

The  exhibit,  then,  should  be  so  placed  that  she  can  be  easily 
and  clearly  seen.  To  this  end  she  stands  on  a low  platform, 
unless  the  audience  number  less  than  fifteen  or  twenty  per- 
sons, or  unless  the  room  in  which  the  audience  is  gathered 
..permits  that  audience,  even  if  it  numbers  more  than  twenty 


Illustration  No.  2.  The  entire  side  of  the  screen  here 
shown  is  painted  a soft  gray.  The  table  or  desk  and  the 
platform  are  the  same  color.  The  speaker  is  here  supposed 
to  be  giving  a talk  on  pottery. 


AND  ACCOMPANYPNG  EXHIBITS 


7 

or  thirty  persons,  to  sit  in  not  more  than  three  concentric 
semi-circles.  Every  club  which  holds  meetings  under  such 
conditions  as  these  in  private  houses  or  small  halls,  should 
have  at  least  one  speaker's  platform.  This  may  be  a very 
light  affair  of  wood,  say  eight  inches  high  and  two  feet  six 
inches  square,  which  can  be  carried  from  house  to  house  as 
needed.  Such  a platform  is  shown  in  the  accompanying  illus- 
trations. A piece  of  carpet  is  tacked  over  the  top  and  bottom 
to  prevent  its  slipping,  and  to  make  a cover  for  it  unnecessary. 
A hole  in  one  side  serves  as  a handle. 

REMOVE  ALL  DISTURBING  LIGHTS 

Not  only  should  the  speaker  be  visible  from  head  to  foot  to 
all  observers,  she  should  also  be  visible  with  no  strain  upon 
the  observers'  eyes.  This  means  that  several  things  cus- 
tomary on  occasions  of  this  kind  should  never  be  permitted. 
No  uncovered  window  and  no  artificial  light  should  be  in  view 
behind  her  or  so  close  at  one  side  of  her  as  to  come  within  the 
line  of  vision  of  any  one  in  the  audience.  This  obvious  and 
axiomatic  law  of  exhibit  installation  and  public  speaking 
arrangements  is  almost  universally  violated.  Millions  of  unob- 
servant persons  have  gone  away  from  gatherings  where  this 
law  was  broken  in  the  installation  of  speakers  or  singers,  and 
have  laid  at  the  door  of  heat,  bad  air  and  uninteresting  and 
tedious  remarks,  the  lassitude,  headaches  and  general  discon- 
tent which  were,  in  fact,  directly  due  to  eyestrain,  consequent 
on  enforced  and  long-continued  gazing  toward  a window,  by 
day,  or  a bright  artificial  light  at  night. 

To  conform  to  the  law  is  easy.  Before  your  guests  come, 
place  a friend  in  the  position  in  which  you  have  planned  to 
place  your  exhibit, — the  speaker  or  the  singer, — and  if  you 
find  that,  from  any  of  the  seats  provided  for  your  audience,  a 
window  or  a light  strikes  your  eyes  as  you  look  toward  the 


s 


INSTALLATION  OF  A SPEAKER 


experimental  exhibit,  then  shade  the  former  and  put  out  the 
latter,  when  the  speaking  begins. 

HIDE  ALL  DECORATIVE  DISTURBANCES 

It  should  be  very  easy  for  your  audience  to  concentrate  its 
attention  on  your  exhibit.  Indeed,  every  person  in  your 
audience  should  find  it  difficult  to  discover,  in  her  line  of  vision 
as  she  looks  toward  the  speaker,  anything  tending  to  draw 
her  eyes  or  her  thoughts  from  the  speaker’s  words  and  move- 
ments. The  words  one  may  utter  convey,  of  course,  in  the 
tones  of  one’s  voice,  something  not  found  in  them  when  read 
from  a printed  page.  Thus  far  it  is  true  that,  if  one’s  voice  is 
heard,  that  voice  alone  carries  with  it  much  of  one’s  per- 
sonality. But  beyond  and  above  this  sound  of  the  voice  lies  the 
indefinable  something  which  is  added  to  the  spoken  word  by 
the  visible  presence  of  the  speaker  herself.  The  performer 
who  speaks  or  sings  or  plays  is  entitled,  especially  in  affairs 
of  a quasi-social  character,  to  an  opportunity  to  add  all  that 
she  can  to  her  spoken  word  through  the  fair  and  undisturbed 
presentation  of  her  own  personality. 

Now,  it  is  unfortunately  true  that  the  homes  where  such 
events  as  we  are  considering  most  often  take  place  are  over- 
burdened with  things,  and  the  eyes  of  an  audience  seated  in  one 
of  them  must  see,  behind  the  speaker,  wall  paper,  hangings, 
pictures,  furniture,  bric-a-brac,  all  perhaps  excellent  in  them- 
selves, but  quite  disturbing  to  the  eyes  and  minds  which  the 
exhibit  is  trying  to  concentrate  on  herself,  her  words  and  her 
thoughts.  Fashions  and  styles  in  decorations  come  and  go; 
but  simplicity  never  arrives.  Some  day  we  may  hope  to 
acquire  so  sympathetic  a reading  of  Japanese  life  and  manners 
that  we  shall  adopt  a fair  modicum  of  the  Japanese  method  of 
interior  decoration.  When  that  time  comes  the  next  step  to 
be  suggested  in  the  proper  placing  of  one’s  speaking  guest  will 
not  need  to  be  taken.  That  is,  the  placing  of  a screen  of  a 


AND  ACCOMPANYING  EXHIBITS 


9 


proper  size  and  character  directly  behind  the  person  to  be 
‘‘exhibited.” 

This  word,  exhibit,  it  is  now  proper  to  confess,  seems  unduly 
formal  when  applied  to  a living  human  being ; but  the  implica- 
tions it  carries,  added  to  the  implications  of  its  appropriate 
accompanying  word,  “install,”  are  here  of  great  value. 

PUT  A SCREEN  BEHIND  THE  SPEAKER 

This  screen  should  be  so  high,  almost  eight  feet,  that  it  will 
rise  well  above  the  speaker’s  head,  as  seen  from  a low  chair 
near  by,  even  if  the  speaker  is  above  the  normal  height  and 
stands  on  an  eight-inch  platform.  The  one  shown  in  the  illus- 
trations has  three  panels,  each  two  feet  six  inches  wide  and 
seven  feet  six  inches  high.  It  is  painted  all  over  on  one  side 
a soft,  warm  gray.  The  other  side  has  panels  of  a rich  yellow 
with  black  frames.  These  colors  were  chosen  after  several 
trials  by  day  and  by  artificial  light,  and  proved  to  harmonize 
well  with,  or  to  iumish  an  agreeable  contrast  to,  gowns  of 
varied  materials  and  colors.  Such  a screen,  like  the  little  plat- 
form, should  belong  to  every  club,  and  be  transported  from 
house  to  house  as  needed. 

Lights  which  may  directly  afflict  the  eyes  of  the  audience 
should  be  suppressed,  as  already  suggested,  and  this  rule 
applies  to  brilliant  points,  as  in  a central  electrolier  directly 
above  the  audience,  as  well  as  lights  in  line  with  the  exhibit. 

ILLUMINATE  THE  SPEAKER  PROPERLY 

Next,  the  light  which  the  audience  needs  should  be  sup- 
plied. This  needed  light  is  that  which  properly  illuminates  the 
exhibit.  It  should  not  be  overhead,  where  it  tends  to  extin- 
guish the  speaker’s  face,  to  deprive  it  of  its  proper  character. 
It  should  not  be  in  front  and  below,  after  the  manner  of  stage 
footlights,  for  then  it  tends  to  remove  all  character  whatever, 
and  calls  for  the  reinforcement  of  the  features  by  the  make-up 
of  the  actress.  It  should  be,  to  do  the  speaker  the  maximum 


JO  INSTALLATIpN  OF  A SPEAKER 

of  justice,  first,  a quiet,  diffused  light,  illuminating  slightly  all 
the  features,  and  then  a light  at  one  side  strong  enough  to 
cast  soft  shadows  over  the  face  and  bring  out  all  its  modeling. 
Thus  illuminated,  a speaker  is  seen  as  she  really  is;  all  the 
character  her  face  in  repose  possesses  is  clearly  seen,  and  none 
of  the  play  of  expression  is  lost. 

A room  moderately  illuminated  by  concealed  lights,  in  the 
manner  now  very  common,  will  give  the  best  available  diffused 
lighting  of  the  speaker’s  face.  If  such  illumination  is  not 
available,  then  the  inevitable  central  electrolier,  always  too 
much  in  evidence  when  in  use,  should  be  turned  low  or  shaded. 
This  not  only  relieves  the  speaker’s  eyes  and  gives  her  face 
the  moderate  lighting  it  requires ; it  also  takes  from  many  of 
the  audience  the  burdensome  task  of  shielding  their  eyes  from 
an  overhead  glare  as  they  look  toward  the  speaker. 

To  this  general  lighting  should  be  added  the  rather  strong 
side  light  already  spoken  of.  Experiments  show  that  in  a 
moderately  illuminated  room  an  electric  lamp,  say  a 60-watt 
Tungsten,  with  no  strong  reflector,  placed  about  nine  feet  on 
the  right  of  a person  as  seen  by  the  audience,  about  three  feet 
toward  the  front  and  a little  above  the  level  of  her  head,  brings 
out  very  clearly  all  the  characteristic  points  in  the  face, 
touches  it  with  soft  shadows,  and  makes  clear  its  swiftly- 
changing  expressions.  This  light  should,  of  course,  be  screened 
from  the  audience. 

THE  ILLUMINATING  DEVICE 

The  device  shown  in  illustration  No.  1,  here  placed  much  too 
near  the  speaker  to  bring  it  into  this  picture,  should  be  a part 
of  the  property  of  every  organization  holding  meetings  at 
which  speakers  or  singers  or  players  frequently  appear;  espe- 
cially if  the  meetings  are  held  in  small  lecture  rooms  or  in 
private  houses.  The  whole  can  easily  be  carried  from  house 
to  house  as  needed ; for  the  upright  can  be  taken  apart  at  the 


AND  ACCOMPANYING  EXBIBITS  ii 

joint  and  removed  from  the  base.  The  lamp  box  is  hung  on  a 
movable  peg. 

The  box,  which  acts  at  once  as  screen  and  reflector,  can  be 
moved  up  or  down,  as  the  peg  on  which  it  hangs  may  be  placed 
in  holes  bored  for  the  purpose  at  any  desired  height.  The 
light  may  be  reduced  by  changing  the  lamp,  or  by  covering  the 
open  side  of  the  box  with  a sheet  of  paper  or  a piece  of  thin 
cloth.  By  the  use  of  tissue  paper  or  of  cloth  the  light  may  not 
only  be  softened  but  also  colored,  if  the  effect  of  any  other  than 
a soft  white  light  is  needed.  Pegs  at  the  upper  corners  of  the 
open  side  serve  to  hold  cloth  or  paper  in  place.  Rubber  but- 
tons on  the  corners  of  the  bottom  of  the  box  prevent  its  injur- 
ing the  surface  of  a table  if  it  is  taken  from  its  post,  as  it  well 
can  be,  and  set  elsewhere.  The  whole  arrangement  is  simple 
and  easily  moved  and  stored ; and  at  the  same  time  is  of  such 
proportions  and  of  such  a color,  a soft  gray,  as  to  be  not 
obtrusive  or  inharmonious  even  in  the  most  carefully  appointed 
home. 


GIVE  THE  SPEAKER  A PROPER  DESK 

For  those  speakers  who  wish  to  read  from  manuscript  or 
book,  a reading  desk  and  lamp  should  be  provided.  The  desk 
should  be  42  inches  high,  with  a flat  top  two  feet  six  inches 
square.  These  demands  are  met  in  the  desk  shown  in  Illustra- 
tions Nos.  2,  3 and  4.  It  can  be  folded  up  to  occupy  a space  of 
30"  X 42"  X 3".  It  is  light  and  easily  carried.  Every  club  should 
have  something  of  the  kind  for  use  at  all  its  meetings. 

Many  speakers,  especially  beginners  in  the  art  of  addressing 
an  audience,  find  that  the  presence  before  them  of  a table  or 
reading  stand  gives  them  just  that  sense  of  support  and  of 
separation  from  their  audience  which  the  embarrassment  of 
their  situation  demands.  If  a desk,  like  that  shown,  stands 
before  them,  they  have  something  on  which  they  can  lay  book, 
manuscript  or  hands,  and  behind  which  they  can  retreat. 


12 


INSTALLATION  OF  A SPEAKER 


Although  one  who  reads  or  speaks  from  behind  a desk  or  table 
is  at  a distinct  disadvantage,  so  far  as  the  carrying  over  of  her 
message  to  the  audience  is  concerned,  a desk  should  be  pro- 
vided for  the  courteous  and  proper  installation  of  the  persistent 
reader  and  the  timid  beginner. 

The  desk  described  is  painted  the  same  soft  gray  as  are  the 
platform,  rack  and  lighting  standard. 

The  reading  lamp  which  may  be  used  to  illuminate  the 
reader’s  manuscript  should  be  of  the  simplest  kind,  electric 
if  possible,  and  can  stand  on  the  desk. 

THE  REASON  FOR  EFFECTIVE  INSTALLATION 

With  the  arrangements  thus  far  described  and  illustrated  a 
person  who  is  to  appear  before  an  audience  can  be  so  prepared 
that  she  will  give  to  that  audience,  in  her  words,  her  facial 
expression  and  her  dress  the  very  best  impression  of  which 
she  is  capable.  No  speaker  can,  with  full  consideration  for  her 
social  rights,  be  granted  less  than  this  of  adjustment  of  the 
room  to  the  audience  and  of  equipment  for  herself,  and  it 
would  be  difficult  to  find  a speaker,  whether  friend,  club  mem- 
ber, outside  guest  or  professional,  who  would  ask  for  more. 

The  development  of  study  and  debating  clubs  among  both 
men  and  women  of  the  country  has  been  very  rapid  in  recent 
years.  As  their  number  and  the  number  of  their  meetings  has 
grown,  it  has  seemed  sufficient  to  most  to  follow  the  old  cus- 
toms in  “parlor”  gatherings.  More  thought  has  naturally  been 
given  to  the  exercises  themselves,  to  speeches,  songs  and 
papers,  than  to  the  manner  of  presenting  the  personalities,  the 
bodily  enswathements  and  the  textile  accompaniments,  of  the 
thinking  minds  that  for  longer  or  shorter  periods  hold  the 
attention  of  the  audience.  But  it  surely  will  now  prove  easy  to 
persuade  those  who  take  the  lead  in  preparing  for  the  many 
semi-social,  semi-intellectual  gatherings  to  which  reference  has 
been  made,  that  the  comfort  and  pleasure,  and  so  the  mental 


AND  ACCOMPANYING  EXHIBITS 


13 

receptivity,  of  the  audience  should  always  be  carefully  con- 
sidered and  then  assured  by  a few  reasonable  precautions. 

EXAMPLES  OF  EFFECTIVE  INSTALLATION 

Here  are  a few  examples  of  skilful  installation  that  testify 
to  the  wisdom  of  the  suggestions  already  made: 

The  most  universally  admired  piece  of  sculpture  in  the  world 
is  probably  the  Venus  of  Milo.  As  it  comes  into  view,  at  the 
end  of  that  long  vista  in  the  Louvre,  it  gives  to  the  vast 
majority  of  all  who  are  privileged  to  visit  the  Louvre  before 
they  outgrow  their  enthusiasms,  a decided  thrill  of  delight.  It 
is  gracious  and  satisfying  in  every  way.  The  cynic  and  the 
analytic-minded  may  say  that  the  delight  in  the  vision  is 
chiefly  born  of  recognition  and  of  a complacent  satisfaction  in 
the  fact  that  one  is  at  last  there ! The  enthusiast  of  “originals,” 
and  “genuines,”  and  “real  antiques,”  in  his  esthetic  frenzy 
may  declare  that  the  sheer  beauty  of  the  original  marble  at 
once  discloses  itself  to,  and  arouses  esthetic  emotion  in,  every 
observer.  The  simple  fact  is  that  here  is  an  “exhibit,”  the 
figure  of  a noble,  stately  woman,  which  is  properly  installed. 
She  stands  upon  a simple  pedestal;  her  background  is  chosen 
to  contrast  perfectly  with  the  exquisite  tints  of  her  body  and 
her  dress,  and,  she  is  lighted  from  one  side  only,  though  with 
so  generous  a supply  of  light  and  from  so  large  a window  that 
the  whole  room  is  moderately  illuminated ; and  this  light,  from 
her  right,  brings  out,  through  the  delicate  and  tender  shadows 
which  it  casts,  the  exquisite  modelling  of  body,  head  and 
drapery. 

Pass  now  from  this  marvellous  example  of  the  proper  set- 
ting of  a masterpiece  to  one  of  the  commonest  sights  for  all 
city  dwellers, — the  illuminated  shop  window.  It  is  usually 
overlighted,  to  be  sure,  window  dressers  being  generally  com- 
pelled to  dwell  more  on  complete  illumination  of  objects  than 
on  giving  them,  by  a heavier  light  on  one  side  than  on  the 


INSTALLATION  OF  A SPEAKER 


14 

other,  the  shadows  which  would  so  greatly  add  to  their  charm. 
But  note  that  the  best  of  them  are  given  harmonious  or  con- 
trasting backgrounds;  that  nothing  is  in  them  that  tends  to 
distract  attention  from  the  objects  displayed;  and  that  sim- 
plicity and  directness  are  the  rules  which  are  evidently  funda- 
mental in  all  their  arrangement. 

Museums  of  art  and  science  were  long  sadly  unobservant 
and  indifferent  to  this  fine  craft  of  installation ; but  to-day,  in 
the  best  of  them,  objects  so  placed,  on  pedestals  or  in  cases, 
that  they  meet  the  eye  readily,  are  not  closely  set ; they  stand 
out  from  a fitting  background,  and  are  lighted  to  bring  out 
their  characteristic  markings  and  not  merely  to  make  them 
visible. 

All  of  which  goes  to  show  that  the  audience  which  wishes  to 
gain  the  maximum  of  profit  and  pleasure  from  one  who  is  to 
address  them  should  insist  that  she  be  installed  as  graciously 
and  fittingly,  no  matter  how  humble  the  apparatus  employed 
to  that  end,  as  is  the  bit  of  porcelain  in  the  museum,  as  are  the 
fabrics,  furniture  and  other  objects  of  the  storekeeper,  or  as  is 
the  stately  queen  among  sculptures  in  her  salon  in  the  Louvre. 


Illustration  No.  3.  The  screen  again  has  its  gray  side 
turned  to  the  audience.  On  the  screen  are  thumb-tacked 
three  engravings.  The  speaker  is  supposed  to  be  giving  a 
talk  on  laces.  The  background  on  which  the  lace  is  shown 
is  a sheet  of  dull  black  cardboard,  upheld  by  the  rack  or 
easel  shown  more  fully  in  No.  4. 

The  table  or  desk  stands  on  the  platform,  thus  making 
the  height  of  the  table  from  the  floor  50  inches.  . 


- V 


THE  INSTALLATION  OF  A SPEAKER 
AND  ACCOMPANYING  EXHIBITS 
II 

Installing  the  Objects  a Speaker  Wishes  to  Display 

A speaker  quite  often  wishes  to  illustrate  or  explain  her 
talk  with  the  aid  of  a few  objects;  or  wishes  first  to  have 
certain  objects  seen,  and  next  to  explain  them  by  her  talk. 
Here  are  suggestions  for  the  proper  placing  of  such  objects: 

THE  DISPLAY  OF  PICTURES,  TEXTILES  AND  LIKE  OBJECTS,  SINGLY 

If  she  wishes  to  show  pictures,  whether  photographs, 
engravings  or  mechanical  reproductions,  she  can  display  them 
well,  one  at  a time,  on  her  reading  desk ; and  for  this  purpose 
it  may  stand  beside  or  before  her  platform,  even  if  she  does 
not  use  it  for  manuscript  or  book.  On  the  desk  she  should 
have  a frame  for  holding  the  pictures  upright.  This  should 
raise  them,  as  they  are  placed  on  it  one  after  another,  at  least 
four  feet  from  the  floor,  and  should  be  so  constructed  as  to 
keep  them  nearly  vertical.  The  one  seen  in  Illustration  No.  4 
will  hold  pictures,  without  frames,  not  larger  than  30  inches 
wide  and  22  inches  high,  and  will  keep  them  in  position  even 
if  they  are  tilted  slightly  forward.  Thus  placed,  they  can  be 
seen  more  clearly  by  the  audience  than  if  they  lean  backwards. 
On  the  pictures  thus  placed  she  turns  the  light  of  the  reading 
lamp,  which  may  be  adjusted  to  this  purpose.  The  light  thus 
comes  from  one  side  and  illuminates  the  picture  in  the  best 
manner.  The  rack  will  be  42  inches  from  the  floor  if  placed  on 
the  desk  already  described,  and  can  be  raised  eight  inches 
more  if  the  platform  is  placed  under  the  table  as  in  illustration 
No.  3.  The  platform  is  constructed  with  this  use  in  view. 

If  several  pictures  are  to  be  shown  at  once,  and  not  more  at 
a time  than  six  large  ones  or  twelve  small  ones,  they  can  be 


i6  INSTALLATION  Of  A SPEAKER 

tacked  on  the  screen.  The  panels  of  the  screen  are  of  compo- 
board  and  will  take  thumb-tacks  or  fine  brads  without  injury. 
For  this  use  the  screen  should  be  moved  forward  as  close  to 
the  audience  as  possible.  It  should  be  lighted  by  placing  the 
standard,  with  its  lamp  in  the  box,  at  a proper  height  and  dis- 
tance, and  at  one  side. 

Pictures  thus  displayed  can  be  quite  well  seen  by  all  per- 
sons of  normal  eyesight  in  an  audience  of  fifty,  on  condition, 
of  course,  that  the  audience  be  seated  closely  and  near  the 
speaker’s  desk  or  screen. 

Lace,  embroidery  and  almost  any  textile  would  be  shown 
in  the  same  manner  as  pictures,  the  lace  being  laid  upon  a card- 
board of  dull  black  or  on  a board  over  which  has  been  smoothly 
drawn  a piece  of  black  velvet. 

THE  DISPLAY  OF  SMALL  GROUPS  OF  OBJECTS 

It  often  happens  that  a small  organization,  such  as  that  to 
which  Part  I of  this  book  is  specifically  addressed,  meeting 
usually  in  the  homes  of  the  members  or  in  small  public  halls, 
wishes  to  exhibit,  for  a day  or  an  afternoon  or  an  evening,  a 
certain  small  group  of  objects,  not  singly,  as  in  most  of  the 
cases  already  alluded  to.  The  objects  may  be,  to  give  a few 
examples,  the  work  of  a keramic  society  or  of  a photographic 
club,  or  old  lace,  or  hand-wrought  jewelry,  or  a collection  of 
prints.  The  problem  of  the  proper  presentation  of  the  things 
thus  to  be  shown  is  rarely  frankly  faced,  as  a problem,  and 
still  more  rarely  is  it  solved  to  the  satisfaction  of  those  who 
come  to  admire  or  study  the  objects. 

It  is  impossible  to  give  precise  and  detailed  rules  for  the 
proper  installation  of  exhibits  of  every  conceivable  kind. 
Experience  has  shown,  however,  that  the  suggestions  which 
follow,  all  based  on  the  few  rules  already  given,  with  the  care- 
ful instructions  for  certain  specific  things  that  accompany 
them,  furnish  such  a general  guide  to  temporary  installation 


Illustration  No.  4.  The  speaker  is  supposed  to  be  giving 
a talk  on  Japanese  prints.  The  folding  rack  or  easel  stands 
on  the  folding  table. 


AND  ACCOMPANYING  EXHIBITS 


17 

as  will  enable  those  who  study  them  with  care,  and  then  use  a 
fair  modicum  of  good  sense  and  native  ingenuity  in  their 
application,  to  make  attractive,  striking  and  instructive  almost 
any  group  of  objects,  no  matter  how  adverse  the  conditions 
which  the  room  used  for  their  display  may  present. 

FUNDAMENTAL  RULES  OF  INSTALLATION 

Here  are  a few  general  rules  which  should  always  be  kept  in 
mind.  It  does  not  lessen  their  importance  that  they  in  some 
degree  repeat  those  already  given  in  regard  to  smaller  groups : 

1.  Let  light  fall  on  the  objects  from  one  side,  if  possible; 
if  that  is  not  possible,  let  it  come  from  above;  that  is,  from 
above  the  object,  not  from  above  the  head  of  the  observer. 
Never  let  the  light  come  from  in  front  of  observers  or  from 
directly  behind  them.  This  means  that  the  objects  should  not 
be  placed  before  a window  so  that  observers  face  the  window 
as  they  look;  and  that  the  objects  should  not  be  against  the 
walls  in  an  ordinary,  centrally-illuminated  room,  unless  the 
central  source  of  illumination  is  high  and  the  light  well 
diffused;  and  not  tjien  if  the  objects  reflect  the  light  into  the 
observer's  eyes,  as  would  glazed  pictures,  for  example. 

2.  Isolate  the  objects.  That  is,  keep  them  well  separated 
from  things  with  which  they  have  no  relation  and  from  one 
another.  The  average  mind  is  easily  confused  and  is  not  easily 
led  to  concentration.  It  likes  one  thing  at  a time.  A shop  win- 
dow full  of  shoes  of  all  kinds  is  a burden  to  most;  while  a 
shop  window  containing  one  shoe  only,  and  that  accompanied 
by  a brief  note,  in  large  type,  telling  what  it  is  and  why  it  is 
shown,  will  hold  the  attention. 

3.  Make  the  objects  prominent  and  fit  for  undisturbed  exam- 
ination, not  only  by  isolating  them,  but  also  by  giving  them  a 
background  which  is  either  contrasting  or  harmonious. 

4.  Give  to  the  objects  clear  and  simple  labels  in  large  type. 
These  are  most  important,  even  if  the  exhibit  is  to  last  only  a 
few  hours. 


i8 


INSTALLATION  OF  A SPEAKER 


DISPLAY  OBJECTS  WELL  OR  NOT  AT  ALL 

It  will  be  said  at  once  that  to  enforce  these  rules  in  showing 
more  than  a very  small  group  of  objects  in  the  ordinary  home 
is  quite  impossible.  To  this  one  may  reply  that,  to  show  things 
otherwise  than  with  taste  and  skill  is  a waste  of  time  and 
energy.  If  shown  at  all,  let  them  be  seen  for  what  they  are, 
that  they  may  convey  their  message. 

But  it  is  the  purpose  of  this  paper  to  tell  how  one  may  con- 
form to  these  essential  rules,  at  least  in  some  fair  degree,  even 
in  the  most  restricted  and  seemingly  impossible  of  places. 

When  it  is  realized  that  nearly  all  privately  arranged  and 
temporary  exhibits  of  the  kind  we  have  in  mind  are  so 
installed,  or  so  entirely  not  installed,  as  to  make  them  tire- 
some, uninteresting,  ill-mannered  and  inartistic,  it  is  at  once 
obvious  that  no  effort  to  make  them  what  they  should  be  can 
by  any  possibility  be  wasted,  and  may  be  productive  of  results 
that  are  good  beyond  all  expectations. 

ARRANGING  A GROUP  OF  PICTURES 

Pictures  are  used  more  often  than  any  other  objects  as  the 
accompaniment  of  a talk  to  a small  group  of  persons.  For 
the  present  we  assume  that  these  pictures  are  appropriately 
mounted,  somewhat  after  the  manner  to  be  described  later. 
We  assume  also  that  they  are  to  be  so  placed  that  they  can  be 
studied  both  before  and  after  the  talk  has  been  given  or  the 
paper  read. 

To  show  them  properly,  assuming  that  they  number  as  many 
as  twenty-five  and  that  the  cards  on  which  they  are  mounted 
are  not  less  than  12  x 17  inches,  they  must  be  attached  flat  to 
the  walls,  these  latter  having  been  first  cleared;  the  room 
should  contain  very  little  furniture  and  all  lights  save  that 
high  in  the  center  of  the  room  should  be  suppressed. 

THE  IMPERATIVE  DEMAND  OF  GOOD  TASTE 

It  will  be  said  at  once  that  no  hostess  will  permit  her  house 


AND  ACCOMPANYING  EXHIBITS 


19 

to  be  upset  simply  to  show  for  an  hour  or  two  a few  unimpor- 
tant pictures. 

Upon  this  several  comments  wait  to  be  made: 

1.  If  the  pictures  are  good,  if  they  serve  their  purpose  well, 
it  is  better  to  suppress  them  than  not  to  show  them  properly. 

2.  If  they  are  make-believes  and  add  little  or  nothing  to  the 
value  of  the  day's  program,  they  should  not  be  shown  at  all. 

3.  If  the  speaker  much  needs  them,  in  her  own  opinion,  and 
if  they  are  good,  then  the  common  law  of  courtesy  demands 
that  they  be  shown  and  shown  well.  If  this  is  not  possible  in 
the  house  selected  for  the  occasion,  the  meeting  can  well  be 
held  at  another  place  where  it  is  possible. 

4.  In  many  of  our  more  ample  homes  there  are  rooms  in 
which  the  removal  of  all  objects  from  the  walls  is  a much 
simpler  matter  than  is  generally  supposed. 

THE  CHARM  OF  THE  UNCLUTTERED 

5.  Few  modern  American  home-keepers  ever  know  how 
charming  in  proportions,  how  restful  in  their  untroubled  and 
well-tinted  walls,  and  how  thoroughly  artistic  in  their  arrange- 
ment of  doors,  windows  and  blank  spaces  are  many  of  their 
rooms,  strictly  as  such.  If  they  will,  now  and  again,  persuade 
themselves  to  permit  one  or  two  of  their  rooms  to  be  cleared 
of  nearly  all  furniture,  and  of  wall  and  shelf  and  mantel  dec- 
orations as  well,  and  to  put  flat  against  the  wall  a few  properly 
mounted  and  skillfully  spaced  pictures,  no  matter  how  simple 
or  inexpensive  these  may  be,  they  will  get  a new  and  delightful 
conception  of  the  charm  of  simplicity  in  decoration,  a concep- 
tion which  will  easily  mount  into  conviction  and  be  worth  all 
their  trouble. ' Mounts  of  almost  any  kind  can  be  affixed  to  the 
ordinary  papered  wall,  and  without  injury  to  it,  by  using 
slender,  sharp  steel  tacks  with  glass  heads.  These  can  be 
obtained  at  any  stationer's.  Sharp  brads  are  quite  as  efficient 


20 


INSTALLATION  OF  A SPEAKER 


as  the  glass-head  thumb-tacks,  and  leave  marks  that  are 
scarcely  visible  to  the  naked  eye. 

DEVICE  FOR  HANGING  MOUNTED  PICTURES 

If  it  is  impossible  to  attach  pictures  to  the  walls  as  sug- 
gested, they  can  sometimes  be  well  shown  thus: 

Secure  strips  of  light,  soft  wood,  x 2",  and  as  long  as  the 
spaces  between  doors  and  windows  in  which  pictures  are  to  be 
hung.  If  the  spaces  are  more  than,  say,  12  feet  in  length,  use 
two  strips. 

In  one  edge  of  each  strip  and  a foot  from  its  ends  insert 
two  small  screw-hooks.  For  each  strip  get  two  ordinary 
picture-mould  hooks.  Attach  to  each  a stout  cord,  so  long  that 
when  the  hook  is  placed  on  the  picture  mould  the  cord  will 
reach  well  below  the  point  where  the  pictures  you  wish  to  show 
are  to  be  hung.  Attach  the  strip  of  wood  to  these  cords  by 
the  screw-hooks  so  that  it  hangs  level,  and  at  the  height  at 
which  you  wish  the  tops  of  the  pictures  to  be  placed.  To  this 
strip  thus  hung  fasten  the  pictures  to  be  shown,  by  brads 
or  thumb-tacks. 

PICTURES  TO  BE  SHOWN  MUST  BE  MOUNTED  AND  MATTED 

Pictures,  especially  photographs  and  prints  of  all  kinds, 
should  be  mounted  and  matted  before  being  shown.  Any  pic- 
ture framer  can  mount  and  mat  them  at  small  cost.  The  mat 
should  be  hinged  at  its  top  to  the  mount  by  a strip  of  muslin, 
the  two  being  of  the  same  size.  The  picture  should  be  hinged 
with  a bit  of  paper  at  its  top  to  the  mount  at  the  proper  posi- 
tion to  be  seen  through  the  hole  or  frame  cut  in  the  mat.  In 
most  cases  a narrow  margin  of  the  paper  outside  of  the  pic- 
ture's printed  surface  should  be  permitted  to  show  between  the 
picture  and  the  edge  of  the  hole  in  the  mat. 

SHOWING  PICTURES  ON  RACKS 

If  cleared  walls  are  impossible,  three  methods  remain:  to 
use  tables;  to  bring  in  screens  on  which  the  pictures  shall  be 


Illustration  No.  5.  Three  boxes  are  arranged  as  described 
in  the  text  to  make  a high  central  shelf  and  lower  ones  on 
each  side,  only  one  of  tl\e  latter  is  here  shown.  A light 
cloth  of  soft  blue-gray  is  thrown  over  the  three  boxes,  which 
stand  on  the  folding  base,  which  in  turn  rests  on  the  folding 
table.  Even  in  this  reproduction  of  a small  photograph  the 
manner  in  which  proper  position,  background  and  lighting 
bring  out  all  the  better  qualities  of  an  “installed”  object 
is  well  disclosed. 


AND  ACCOMPANYING  EXHIBITS 


21 


fastened ; or  to  have  the  pictures  shown,  one  by  one,  on  a frame 
near  a carefully-adjusted  light,  as  described  in  Part  I. 

If  the  meeting  is  in  daylight  hours,  long  tables  or  groups 
of  two  or  more  short  ones  set  end  to  end  should  be  placed  with 
their  ends  against  windows.  On  the  tables,  and  running 
lengthwise  of  them,  set  simple  racks. 

Lay  the  pictures  against  these  racks,  on  both  sides,  and 
they  will  be  seen  with  the  light  coming  from  one  side,  as  they 
should  be. 

If  it  is  an  evening  meeting,  the  tables  can  be  placed  in  the 
centers  of  two  or  more  rooms,  and  the  pictures  set  on  the 
racks  will  be  fairly  well  lighted  by  the  central  electrolier. 

SCREENS  FOR  PICTURE  EXHIBITS 

If  screens  must  be  used,  they  should  be  of  the  general  style 
shown  in  the  illustrations,  but  wider.  A three-fold  screen, 
seven  feet  high,  its  panels  made  of  compo-board  which  holds 
thumb-tacks  and  brads,  each  four  feet  wide  without  its  frame, 
in  the  general  style  of  that  shown  in  the  illustrations/  will 
hold  forty-eight  prints  or  photographs  on  its  two  sides,  if  the 
mounts  are  not  larger  than  11  x 14  inches.  This  size  and  its 
double,  14  x 22,  and  its  quadruple,  22  x 28,  are  standard  sizes 
among  collectors  and  dealers.  Both  sides  of  such  a screen 
should  be  well  lighted.  A central  electrolier  will  serve  for  one 
side,  and  the  movable  box-light,  already  described,  for  the 
other. 

Many  of  the  subjects  under  discussion  in  study  clubs,  debat- 
ing societies  and  civic  organizations  are  capable  of  being  made 
much  more  interesting  by  the  use  of  a collection  of  pictures. 
The  growth  of  interest  in  prints  of  all  kinds  is  just  now  very 
rapid  in  this  country,  and  study  clubs  are  rapidly  becoming 
awake  to  this  fact.  It  will  soon  be  quite  generally  realized 
that  one  or  more  screens,  of  the  type  described,  should  be  part 
of  the  equipment  of  every  organization  that  is  trying  to  make 


22  INSTALLATION  OF  A SPEAKER 

the  most  of  its  meetings  and  wishes  to  keep  abreast  of 
the  times. 

THE  DISPLAY  OF  OTHER  OBJECTS 

Almost  all  of  the  many  kinds  of  objects  that  are  displayed 
at  sucn  gatherings  as  we  have  under  consideration  can  be 
shown  on  long  tables  which  are  so  placed  as  to  have  the  light 
from  windows  fall  lengthwise  along  them,  the  observers  stand- 
ing on  each  side.  They  will  be  seen  to  much  better  advantage 
if  they  are  elevated  from  10  to  20  inches  above  the  top  of  a 
table  of  ordinary  height,  32  inches;  and  they  can  easily  be 
thus  elevated  by  a very  simple  device,  consisting  of  three 
boxes,  each  about  52  inches  long,  with  an  independent  base  of 
the  same  length.  The  base  is  laid  on  any  ordinary  table  52 
inches  long  or  over;  the  boxes  are  set  on  this  base  as  indi- 
cated, and,  a loose  covering  of  cloth  of  color  or  texture,  suited 
to  the  object  to  be  shown  being  laid  over  them,  the  objects 
are  set  on  the  two  steps,  as  shown  in  illustration  No.  5.  Two 
of  the  boxes  are  contained  in  the  third  one,  in  an  arrange- 
ment devised  by  the  author,  and  the  base,  when  folded,  is  twice 
as  wide  as  the  containing  box. 

OBJECTS  SHOULD  BE  RAISED  TO  THE  LEVEL  OF  THE  EYES 

Almost  all  objects  of  small  size  are  to  be  looked  at  from 
the  sides  and  not  from  above.  Many  a keramic  society  has 
lost  much  of  the  value  of  all  its  exhibits  because  most  of  the 
objects  shown  in  them  were  designed  to  be  looked  at,  not  from 
above,  as  when  they  rest,  as  they  usually  do  when  exhibited, 
on  a table  of  ordinary  height,  but  from  one  side  and  at  the 
level  of  one’s  eyes.  The  overpowering  desire  we  all  feel  to  pick 
up  the  small  object  we  are  observing  in  museum  or  private 
house,  or  in  a store  with  an  eye  to  purchase,  is  not  by  any 
means  entirely  due  to  a meddling  propensity.  It  is  chiefly  due 
to  the  fact  that  we  wish  to  see,  and  to  see  clearly  and  to  some 
purpose,  to  get  at  with  our  own  eyes  the  line,  form  and  color 


AND  ACCOMPANYING  EXHIBITS  23 

of  a thing  which,  lying  on  a table  before  us,  quite  imperfectly 
discloses  itself.  The  device  for  raising  objects  nearly  to  the 
eye  level  by  table  ‘‘steps”  or  boxes  is  very  helpful,  largely  on 
account  of  this  imperative  demand  that  we  see  them  closely 
and  usually  from  one  side. 

THE  OVER-MUCH  HOME  DECORATION 

To  carry  further  this  discussion  of  the  installation  of  a 
speaker  and  of  the  objects  displayed  to  illustrate  or  explain 
her  remarks  would  be  to  enter  the  field  of  house  planning  and 
house  decoration.  On  this,  perhaps,  too  much  has  been  said 
already.  But  it  is  proper  to  note  that  this  book  is  itself  a 
protest  against  the  almost  universal  practice  of  overdisplay  in 
the  decoration  of  rooms.  We  all  admire  our  own  possessions, 
and  we  like  to  show  them  to  our  friends, — and  so,  we  set  them 
about  our  rooms  or  hang  them  on  our  walls.  The  result  is  that 
we  forget  them, — and  add  more!  And  at  last  our  homes  are 
not  haunts  of  ancient  peace,  but  excerpts  from  department 
stores. 


Note:  Measured  drawings  of  the  platform,  table,  screen, 

easel,  lighting  standard  and  pyramid  boxes  shown  in  the  illus- 
trations can  be  obtained  of  the  publishers  at  moderate  cost. 
All  these  objects  have  been  made  as  light  as  the  purposes  they 
are  to  serve  permit.  The  screen,  when  folded,  is  seven  feet 
six  inches  long,  two  feet  six  inches  wide  and  three  inches  thick. 
The  platform  is  two  feet  six  inches,  by  two  feet  six  inches,  by 
eight  inches.  The  table  when  folded  i^  three  feet  six  inches 
long,  two  feet  six  inches  wide  and  five  inches  thick.  The  easel 
when  folded  is  two  feet  eight  inches  long,  by  two  feet  wide, 
by  two  inches  thick.  The  base  of  the  lighting  standard  is  two 
feet  long  by  two  feet  wide  and  two  inches  thick.  The  standard 
itself  is  in  two  parts,  each  four  feet  six  inches  long  and  two 
and  a half  inches  square  at  base.  The  box,  which  contains  two 
other  boxes,  all  three  making  the  pyramid,  is  one  foot  six 
inches  long,  one  foot  wide  and  nine  inches  thick. 

All  these  objects  can  be  packed  in  a space  seven  feet  long 
by  two  feet  six  inches  wide  and  fourteen  inches  high,  and  can 
therefore  be  easily  stored  in  any  home  and  easily  transported 
from  house  to  house. 

The  Elm  Tree  Press. 


25 


